The Lady of Shalott

The Lady of Ash Elle ott (over-the-top)… “And by the moon the reaper weary, Piling sheaves in uplands airy, listening, whispers, “‘Tis the fairy Lady of Shalott'”.

A Shallot is an E-long-gated thinner type of onion, Shalott is a word play and symbolism for a tall woman that peels the layers of falsity away. The word Shallot comes from Old French eschalotte, eschaloigne, and from Latin Ascalōnia caepa (“onion of Ashkelon”). Kelon means slender, from Kelo and German Keller, meaning storehouse or pantry. As a Gaelic surname, spelling variant of Keillor, from gu leòr (“plenty, enough, sufficient”). So Ash-kelon means Ash the one who stores abundance. The horn of Cornwall is the cornucopia of abundance.

Ashkelon is a coastal city in the Southern District of Israel and was the oldest and largest seaport in Canaan. Villages and farmhouses surrounded ‘Ashqelon’, and grain, dates, grapes, and vegetables were grown. A special kind of onion was grown here, its name – scallion – deriving from the name of the city of Ashqelon. The town was especially known for its weaving industry. The 3 major fabrics produced were malak (silk), ikhdari (bands of red and green) and jiljileh (dark red bands). Many other fabrics were produced, some with poetic names such as ji’nneh u nar (“heaven and hell”), nasheq rohoh (“breath of the soul”) and abu mitayn (“father of two hundred”).

The name Ashkelon is probably western Semitic (meaning inverted Cornish Atlantean), and might be connected to the triliteral root š-q-l (“to weigh”). Its name appeared in Phoenician and Punic as šqln (𐤔𐤒𐤋𐤍) and ʾšqln (𐤀𐤔𐤒𐤋𐤍). Ashkelon is mentioned in the Egyptian Execration Texts of the 11th dynasty as “Asqanu“. According to Herodotus, its temple of Venus was the oldest of its kind and the largest dog cemetery in the ancient world was discovered there. Ruins of 4th to 6th century baths were found in Ashkelon. The remains of nearly 100 (mostly male) infants were found in a sewer under the bathhouse.

https://www.npr.org/2019/07/03/738586883/dna-study-reveals-philistines-were-originally-from-europe

Ashqelon was one of the 5 Philistine cities. It is mentioned in the biblical eulogy of David for Saul and Jonathan: “Tell it not in Cath, proclaim it not in the streets of Ashqelon, lest the daughters of the Philistines be glad, lest the daughters of the uncircumcised rejoice”. ~ 2 Sam.1:20.

“Baldness is come on Gaza; Ashkelon is brought to nothing, the remnant of their valley: how long will you cut yourself?” ~ Jeremiah 47:5.

“These are the golden tumors which the Philistines returned for a trespass offering to the LORD: for Ashdod one, for Gaza one, for Ashkelon one, for Gath one, for Ekron one…” ~ 1 Samuel 6:17.

“How can you be quiet, since the LORD (Ai) has given you a command? Against Ashkelon, and against the seashore (frequency of the Feminine), there has he appointed it.” ~ Jeremiah 47:7.

These following quotes tell us of how the fake hybrid Jews took over and destroyed the real creator Cornish Atlantean DuweLordS that were first in the area of Ashkelon:

Zechariah 9:5; Ashkelon will see it, and fear; Gaza also, and will writhe in agony; as will Ekron, for her expectation will be disappointed; and the king will perish from Gaza, and Ashkelon will not be inhabited.

Zephaniah 2:4; For Gaza will be forsaken, and Ashkelon a desolation. They will drive out Ashdod at noonday, and Ekron will be rooted up.

Zephaniah 2:7: The coast will be for the remnant of the house of Judah. They will find pasture. In the houses of Ashkelon, they will lie down in the evening, for the LORD, their God, will visit them, and restore them.

Jeremiah 25:20: and all the mixed people, and all the kings of the land of the Uz, and all the kings of the Philistines, and Ashkelon, and Gaza, and Ekron, and the remnant of Ashdod.

Atlantean DuwLordS

In the Madaba Map, a 6th century CE church mosaic depicting cities of the Holy Land and discovered in Madaba, JorDAN, the northeastern portion of Ashqelon appears, including the Jerusalem Gate flanked by towers. Ashkelon was simply named after an ancient Atlantean city, after the creator beings from Atlantis made their way across to this area to reset up their Queendom. Lady Shalott is code for her having been a Cornish Atlantean Priestess. Hence the linking of her name Shalott, the Arthurian legend, Ashkelon in Israel (which was originally in Atlantis), and the Shallot onion.

Ashqelon was refortified and partially rebuilt by the Crusader Richard the Lionheart in 1192 CE and by Richard, earl of Cornwall 😏 (brother of King Henry Ill), in 1241. Remains of these walls can still be seen. The Canaanite City Gate: This gate contains the oldest arch in the world, constructed during the Middle Canaanite period around 1850 BCE.

The “Jewish Eye” is a Jewish world film festival that takes place annually in Ashkelon. Im schwarzen Walfisch zu Askalon (“In Ashkelon’s Black Whale inn”) is a traditional German academic commercium song that describes a drinking binge staged in the ancient city.

Antiochus of Ascalon (c. 125 – c. 68 BC) was an Academic philosopher who stated, in opposition to Philo, that the mind could distinguish true from false. It was the chief object of Antiochus, besides promoting particular doctrines in moral philosophy, to examine the grounds of knowledge, and our capacities for discovering truth. The result was an attempt to revive the dialectic art which the Academics had ignored.

Shallot is an original character appearing in Dragon Ball Legends, the main character in the story.

“I envy not in any moods
The captive void of noble rage,
The linnet born within the cage,
That never knew the summer woods:

I envy not the beast that takes
His license in the field of time,
Unfetter’d by the sense of crime,
To whom a conscience never wakes;

Nor, what may count itself as blest,
The heart that never plighted troth
But stagnates in the weeds of sloth;
Nor any want-begotten rest.

I hold it true, whate’er befall;
I feel it, when I sorrow most;
‘Tis better to have loved and lost
Than never to have loved at all.”

In Memoriam A. H. H, by Lord Alfred Tennyson.

Another one of ‘Them’, but sometimes their words resonate. The poem was a great favourite of Queen Victoria, who after the death of Prince Albert, wrote that she was “soothed and pleased” by it. Victoria requested a meeting with Tennyson because she was so impressed by the poem. Mhmm… 😏

Alfred Tennyson was fascinated by medieval literature and culture, and had a particular interest in Arthurian legends. He was drawn to the romance of a lost era and its chivalric code. His original version of ‘The Lady of Shalott’ had 20 stanzas, and was supposedly written when he was just 22 years old. Use of the present tense and a steady rhyme scheme of aaaabcccb imbue the verse with a feeling of intimacy and immediacy. It was included in Poems, a volume published towards the end of 1832, although its title page bore the date 1833. Tennyson claimed that he based the poem on an Italian work, Donna di Scalotta, which was from a collection called Centro Novelle Antiche (One Hundred Ancient Novellae), so it was in essence plagerized. The poet was distressed and daunted by the negative reviews of some critics. Subsequently, he revised his poem, removing one of the stanzas, and it was republished in 1842.

Stanzas 5 to 8 describe the Lady’s life. She suffers from a mysterious curse and must continually weave (type) images on her loom (phone), without ever looking directly out at the real world. Instead, she looks into a mirror (screen), which reflects the busy road and the people of Camelot who pass by her island. In Jasper Fforde’s novel One of our Thursdays Is Missing, the Lady of Shalott appears as a character possessing a mirror (phone) that allows characters in the Book World to see into the real world (“the Outland”).

“She knows not what the curse may be, And so she weaveth (writes) steadily, And little other care hath she, The Lady of Shalott”.

The reflected images are described as “shadows of the world” (hybrids on the screen), a metaphor that makes it clear that they are a poor substitute for real creator beings (“I am half-sick of shadows”). Though I am all the fkn way sick of the hybrids now!

The Gentleman of Shalott…

“Which eye’s his eye?

Which limb lies

Next the mirror?

For neither is clearer

Nor a different colour

Than the other,

Nor meets a stranger

In this arrangement

Of leg and leg and

Arm and so on.

To his mind

It’s the indication

Of a mirrored reflection

Somewhere along the line

Of what we call the spine.

He felt in modesty

His person was

Half looking-glass,

For why should he

Be doubled?

The glass must stretch

Down his middle,

Or rather down the edge.

But he’s in doubt

As to which side’s in or out

Of the mirror.

There’s little margin for error,

But there’s no proof, either.

And if half his head’s reflected,

Thought, he thinks, might be affected.

But he’s resigned

To such economical design.

If the glass slips

He’s in a fix

Only one leg, etc.

But while it stays put

He can walk and run

And his hands can clasp one another

The uncertainty

He says he finds exhilarating.

He loves

That sense of constant re-adjustment.

He wishes to be quoted as saying at present:

‘Half is enough.’”

~ Elizabeth Bishop

Many men will try and trick her, try and sneak in through the cracks in her screen. Or try and barge their way into her www domain, armored with egocentric s-words of entitlement, intent on getting her to yield her shield. But a real man will knock three times, make a wish, and wait patiently, until she figures out who’s really there.

Then he will have the core-age to kneel down spiritually naked before her Door, and wait for her to feel he adores, to then open to him. And when he finally enters into her secret abode, received in trust and love, is when he will gain the keys to her cast-Elle. Then they both will be well cum 4Eva, in the motherly Hoe M that they turn her into, together…

Waiting on her like a waiter, is the way-to-her. Not weighting on her, making her wait to weight her. Only a man who serves a woman can service her, not Sir-Vice her. When he kneels to her, she will bow down to kiss him. Why Neil is a man’s name.

The only way for hearts to be able to be complete, is if the man is courageous enough to hand over all of himself to his woman. In doing so, he will not lose his heart, but gain hers. Only when a man is truly strong enough to do this, will the woman’s heart be released from its cage and she will return his heart back to him, together with her own, giving him the role of protector of both.

Total surrender of the trapped maiden can only ever be achieved by the fearless relentless knight. A man is not complete unless he holds the heart of a woman with his own. Likewise, a woman is eternally half empty until she too obtains completeness through total surrender of self. The higher and harder the wall is for the man to climb, the greater the prize inside will be. The more precious the Queen of Hearts, the more well guarded she will be. The near extinction of the ancient art of ‘capture to release’, is one of the worlds greatest woes…

Stanzas 9 to 12 describe the “bold Sir Lancelot” as he rides by and is seen by Lady Shalott. The ethereal, silent Lady is nameless, as is usually the case with many strong women in His-story. She is identified only by her location and defined by expectations of ‘acceptable’ feminine activity. ‘Bold’ Sir Lancelot, on the other hand, is free to engage with the public realm.

“All in the blue unclouded weather, Thick-jewell’d shone the saddle-leather, The helmet and the helmet-feather, Burn’d like one burning flame together, As he rode down to Camelot…

As he rode down from Camelot.
From the bank and from the river
He flash’d into the crystal mirror (phone),
“Tirra lirra, tirra lirra”, sang Sir Lancelot”.

Critics have noted that Sir Lancelot’s ‘Tirra lirra’ echoes the song of Autolycus in Shakespeare’s The Winter’s Tale. In the Bard’s play, the refrain is about ‘tumbling in the hay’, hence the poet is implying that the Lady is sexually frustrated. As is the case with the majority of awakened, mature, empath women now in this beyond toxic, narcisisstic, patriarchal, sodo, hybrid male con-trolled reality. The only way the hybrid males can keep us from breaking their control over us, is by keeping us removed from real, fully connected, E3 sacred sexual union with real men.

The remaining 7 stanzas describe the effect on the Lady after seeing Lancelot. She stops weaving and looks from her Microsoft window toward the window of the real world, Camelot, bringing about the “curse”. Meaning she stopped feeding into her feed to feed Ai and the hybrids that feed off of her creative visions, to focus on the real man, Lancelot, in the real world. The curse was against the hybrids that want to control her, not against her. Though women have lived the curse of disconnection from themselves for centuries, thanks to these fkn creatures that stole all our knowledge and truth, and then went on to use it against us to trap and disempower us.

The impact of the climactic 13th stanza is achieved, in part, by repetition of the word ‘She’ (A-she-r). The Lady suddenly becomes active, rather than sitting passively at her looming loom/screen, entangled in gloom. However, when she ventures to look down to Camelot, tragedy (for the hybrids) ensues…

“She left the wwweb, she left the loom
She made three paces thro’ the room
She saw the water-flower bloom,
She saw the helmet and the plume,
She look’d down to Camelot.
Out flew the wwweb and floated wide;
The (screen) mirror crack’d from side to side;
‘The curse is come upon me,’ cried
The Lady of Shalott”.

I threw my phone in rage at it and smashed the screen into a wwweb pattern this week. William Holman Hunt produced a woodblock engraving to express the Lady’s feelings in the 13th stanza. His portrayal suggests that she is experiencing the dawning of sexual desires and energy. Although Hunt presents her with a seemingly strong facial expression and stance, she is entangled in the threads of her tapestry. Tennyson did not describe this scene in his poem. Perhaps this image represents the truth of the stanza that he removed, to hide the truth that the thread was indeed a metaphor for tech and the threaDS we get entangled in with online interactions.

Swedish pop band The Cardigans reference the poem with the line ‘Mirror cracked from side to side’, in a bonus track on the UK edition of Super Extra Gravity, entitled ‘Give Me Your Eyes’.

The Goddess gave the sky and the trees to birds, men clipped their wings and caged them. The Goddess put our hearts in a cage to protect them, men took the hearts and made them feel vulnerable and exposed. Only those who are caged savor seeing others in cages, instead of setting them free to save them.

From the Stone Age to the New Age

We have forever been in a Cage

Time to gauge your pitiful wage and rage

Only way to become a sage

So we can all turn a new page

On this stupid staged stage

Back to our Her-it-Age…

~ Asher Elle

All we can do is Bee in our truth, hum it to our cellves to reinforce its painfully blissful authenticity. But it feels lieK a cage, because we are sir-round-dead by their lies. When we speak out from the cage they created for us, rattle it, they leer lasciviously and point at us. Like a dangerous wild animal trapped in a zoo that some are curious to look at, yet most want simply shackled away. They fail to see themselves through the eyes of that wild soul they have isolated. Fail to see that the real zoo is the insane new normality they proliferate. Unable to see the cruel sterile emptiness of THEIR lives, that they in turn force us to experience. Whimsically walking around in a superficial flatlined plastified stupor. In fear of being touched by Her Veritas or experiencing anything not resonating with their sick tech programming, called modern society, that they reign in. Defending their dead reality with the illusion of life, their artificial stimulation of simulation. They are stuck in a patriarchal death cult, that is fed by the horror and torture inflicted upon Her. The walking dead can only produce death. Tech and hybrids aim to wipe out the frequency of the Green Queen, all together “TO GET HER” they say. She’s not having it!

She waits for her lover

She waited for her child

The weight of the world

Is high and piled

She has been exiled

That feminine wild

And through it all

She only smiled

When she is riled

All will be reconciled

Her return won’t be mild

And the EArth will be restyled…

~ Asher Elle

Lady Shalott leaves her tower, finds a boat upon which she writes her name, and floats down the river to Camelot. She “dies” before arriving at the palace, meaning her old self died, not her body.

Among the knights and ladies who see her is Lancelot, who thinks she is beautiful…

“Who is this? And what is here?”

And in the lighted palace near

Died the sound of royal cheer;

And they crossed themselves for fear,

All the Knights at Camelot.

But Lancelot mused a little space

He said, “She has a lovely face;

God in his mercy lend her grace,

The Lady of Shalott.”

Elaine of Astolat (or Ascolat) is a figure in Arthurian legend who dies of her supposed unrequited love for Lancelot. She is also referred to as Elaine the White, Elaine the Fair, or the Maid of Shallot. Elaine’s story is also the inspiration for Tennyson’s poem “The Lady of Shalott”, also spelled Shallot. Though Elaine is the mother of Sir Galahad, by Lancelot.

A version of the story appeared in the early 13th-century Mort Artu, in which the Demoiselle d’Escalot dies of unrequited love for Lancelot and drifts down a river to Camelot in a boat. These are His-storical lies and rewrites, to try and paint the picture of Elaine/Lady Shalott as being deceptive and rejected, so women subliminally lose hope in love, and men subliminally see women in this negative lieT. See how they use the same names over and over. To confuse Ai, which in turn, confuses themcellves. Just like they did with Mary and Mary, splitting her into both the Madonna and Whore.

Madonna Whore

The country music video, If I Die Young, by The Band Perry, has clear visual references to the Lady of Shalott. The lead vocalist Kimberly Perry holds a book of poems by Tennyson as she lies in a boat, floating down a river like the Lady of Shalott.

The Lady of Shalott’s escape from her tower as an act of defiance, is a symbol of female empowerment. Based on Poulson’s view, escaping from the tower allows the her to emotionally break free (from Romo Homo narc abuse) and discover the power of the truth of herself.

The depiction of death has also been interpreted as sleep. Poulson says that sleep has a connotation of physical abandonment and vulnerability, which can suggest sexual fulfillment.

Though this whole story is really a metaphoric representation of the release for the caged empath woman, who floats away from it all as she reconnects with the free-Queen-sea of the truth that resonates in water, and will never be mentally or physically caged again by the patriarchal purr-verse-city of the shitty tech cities the hybrid sodo men have create-dead, to try and enslave and DStroy the conscience and sexual powers of the Divine Feminine…

Most people just want to stay sure,

by the shore.

They are fooled into believing,

that there is nothing more.

–

They may get their feet wet,

by risking to step a little into the sea.

But they want to still be able to see their feet,

as they look down into the shallowness of the waters that be.

–

They allow the ripples of truth to ‘brush their calves’,

perhaps even venture in up to their knees.

But they trust only feet planted,

which they believe, were just made for walking in leaves.

–

They do not innerstand how those feet,

are disguised flippers of the sea.

And in a sense then walking,

becomes like a disease.

–

Long ago I left that sure shore

which I used to adore.

I tore away the anchor of myself

and threw it deep into my core.

–

And as I cast that anchor,

as far as I could see.

I never really let it go,

as the chain was still attached to me.

–

I allowed myself to be thrown,

by myself, back into me.

In the hope that all of nature

would hear my pleas to be free.

–

That chain is still connected

to the vessel of myself above.

So no matter how far I reach into the deep,

I will always return to my body, like a dove.

–

The sea is deep and I have yet to reach the bottom to find the key.

But perhaps I never will, and forever fall free, for eternity.

–

The sands of time contain the sea,

so no matter how deep we go.

We will always hit rock bottom,

and be forced back into the flow.

–

In the end we all have to answer,

to the physical reality.

We can not escape our bodies,

or materiality.

–

But nothing is really sure on the shore,

it is all in fact a bore.

That keeps us all search for the door,

to fill ourselves with more.

–

We all desire to escape,

even the rawness of nature’s Law.

But we just keep on selling empty sea shells,

which serves to keep us poor.

–

Maybe, one day, it will all flip,

and mankind will get lost in a kiss.

And everything will slip back fluidly,

into the great conscious abyss…

~ Asher Elle